...Sandro Jung This essay approaches Edmund Spenser’s Renaissance masterpiece, The Faerie Queene , through a hitherto unknown series of twenty-four vignette illustrations that the eighteenth-century painter and book illustrator, Thomas Stothard, contributed to the nowadays little-known annual...

... between the century’s two greatest Spenserians can help to clarify some of the terms in our current debate about canon-formation. The scholarship of John Upton (1707–60) and Thomas Warton (1728– 90) in the 1750s effected a breakthrough in critical understanding of The Faerie Queene. Upton’s...

.... An early case in point is Edmund Spenser’s The Faerie Queene, its author present in the pages of The Oxford History of the Irish Book, Volume III: The Irish Book in Eng- lish, 1550 – 1800 as a new English colonist serving as secretary to Lord Grey in Dublin. The poet and his patron are two points...

... Queene (1590), book 4, canto x, stanzas 44 47; my quotation is from stanza 44, line 6. See The Faerie Queene, ed. Thomas P. Roche Jr. and C. Patrick O Donnell Jr. (New Haven: Yale Univ., 1981), 1,965. 17. Lucretius, 1:6 7, Loeb Classical Library, my translation. 18. Christopher Ricks, in Dryden s...

... themselves: Omission to do what is necessary Seals a commission to a blank of danger; And danger, like an ague, subtly taints Ev’n then when we sit idly in the sun.2 Grouped alongside similarly sized snippets from Edmund Spens- er’s The Faerie Queene and William Baldwin’s...

..., of London’s Roman roots (as Augusta, city of Augustus Caesar), of her glory under Elizabeth I (“a Maiden Queen and perhaps even of Spenser’s Gloriana, the Faerie Queene — all glories of the past — as well as to anticipate her future greatness as the seat of empire. This lumi- nous picture rises above...

... poem is read with and against epic poems of the previous century: Ariosto’s Orlando Furioso (1516), Tasso’s Gerusalemme Liberata (1581), and Spenser’s The Faerie Queene (1590, 1596). This may seem the best way to appreciate the generic nature of Paradise Lost. But by disembedding Mil- ton’s poem...